New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1887-10-02
AN HOUR WITH CHARLES COGHLAN
HIS VIEWS ON ACTING AND STAGE PRO-
DUCTION.

AN HOUR WITH CHARLES COGHLAN
HIS VIEWS ON ACTING AND STAGE PRO-
DUCTION.
Charles Coghlans modDst little slttngroo ct the
Brcvuort House afforded to visitor, tho other day,
somo indication Of the character and pursuits of Its
| owner. Tho table in tho middle Of the room was
Uttered with books and papers, page or two OF manu-
scrpt-evidcntiy that Of halnnished psy-lay on the
blotting pad whiie strewn about on chairs and filing
up small book In corner werc artistic books
Of nesimable value to tho student Of stage mounting
and scenic display. Architecture, histories Of COS
tume etc.. chiefly prominent, while volumes Of
current French literature sandwiched In botwcen
| Those who know Mr.. Coghlan well know him to DO
student well actor, and man whose wioo
reading helps to mako him an entertaining taiker.
| In this country his stage work has been chiehy u
not entirely confined to bis appearance - leading
actor but In London no b known ss poneer In tho
artistic production Of plays. II Is moro than ten
years ago anco his elaborate setting OF tho "Scnoo
fur Scandal" and "Tns Merchant Of Venice" ss tho
Prince Of Wales Theatre opened peoples eyes 70
mooem possibilities In that direction: and II his pro
sentation "shylook" not universally commended
much praise was bestowed By tho London critics on
tho artistic production Of tho play. 80 10 WIS that
his visitor passed an exceedingly entertaining ana
not improbable hour two chatting about tho stage
In general and Mr.. Coghlan's views and friends ID
particular.
Il changeQ my mlno" ead MI CoSnions ~ J"o
may perceive, and not takcn the trip to Engano
Z had almost determined upon The last week on
two have boon spending &c my sistor's homo near
Yonkers, and tho country life and air has oono mo
world Of good. Like most Engiishmen am passion.
atoy fond Of tho country; have taken daily walks OF
many miles around Yonkers and have been asonisneo
at the beauty Of tho scenery along tho banks OF tne
Hudson Tho play 1 originally wrote for Mrs. LAngtry
and which thought Of taking 10 LONDON for production
there hope to before long on New-forx stage
II possible, should DO glad TO SEQ my sster play too
principal part. l have road two acts OF IL 70 MI
Palmer and no oppressed himself "a oeng e..romcv
pleased with IT, A. soon as tho run OK jim r sne
fenman,' which Ia to open Mr. palmcrs season nSas
Monday night anshsd hope to begin w0ta under Sn IN
Loves Martyr but have not yet begun W ssudS
ON this.'
Thi. reference to tho martyr" naturally led to
discussion as to tho merits Of various adaptations OF
French plays al have dono much work In tnis o.
rccuon myself" said blr. Coghan, "and have como
to the conclusion that there arc only two ways IN
which TO do It. Ono Ia to take the book or play cau
IL carefully through two three times and thcn put
II away until ones own adaptation IL written inns
WAS the course 1 pursued In whiting Enemies anu
"A Quiet Rubber, which was Q ireo aoAp'A'o" "
10 Jou do Pcquet,' and ono OF tho most SUCCESSFUL
things over did for Mr.. Hare whom he was managing
tho Court Theatre Tho most difficult form Of adapta-
ton IA that In which tho language OF tho Original
literally transiated into It's English equivalent WIN
absolute fidelity and 1t tho samo umo win "'iHy
grace and freedom. In this respect no wrioor hio"
has ever approached Charles Reades work. for Oho
ordinary playwright I consider tho former oourso
nc,or,he II was In this species OF adaptation that
Tor, IT. xior WAS pre-emneut hope Snail not ue
accused Of being too English II say that most
adaltauons from tho French have seoh IN inns ''u"
try are married by two things hrst thcH il00'" "a
lauon OF French idom and secondly tho ih'roduouoh
n, American ooiloquiaiisrs." Tho name OF H. '"
clfaal
=. ,nndon beins mentioned Mr Coghlan sadi Il
Art mot Mr. Goodwin nearly twenty years aGo and no
ers set mo In the light track ~ regards tne ueS'ss
of dre.ses and scenery for tho stage. Wa e'uu'e
pantlpg then, but he arst turned my tnousn'' "
wha. / may call tho archaeological ade OF stag"
,r,d,ction and my studies a.tcTward have beeh oh
the line hs then suggested to me- oou"'h ""'
,.m.rtable man. Ito was not only ono OF the most
original architects and furniture designers ~ us
time, but wa also thoronsnU psrar decorations
10 addition - this no had an uneIT1ng ,ao yao
40 cnsss the fact that In absolute historical accuracy
the TRUST sort Of picturesquenoss Always h''
speahine OF sage productions In general Mr.. Cogh"
Ian said: There arc two extremes to DO aVoiocu-
over elaboration tho ono sdo ana poverty Vi iu'a
on tho other OF couIso tho first thing '" % oohS
ln a play Is tho and tho acting; nothing nuS'
be dono to draw tho attention Oh inc Aunonoo Ao
these n tho scene Is striking and elNor''o .ha'
ope oos Mt tt rather at tho action OF tho pray
n qravo fault has boon committed. H. on tho othef
hand. It's want OF correctness and cohsru'y I"i' o
tho spectator, fault Just as giave HOS ~ No wv.
a, the manager First In importance comes the
.o.,u,p. Tho dress Is part of tho character ihls
mus. be ut oil hazafds absolutely correc' IA o'iy
de, ono can do without scenery rs long a. theio
IA nm trislve background CALCULATED W 'hrV~ o
arurs OF tho actors into stIons rehoi' ou' IA ~.
dress lies q large part Of stage ulus'on' Do NV ~
I moan TO CRY down tho Importance VI c''io'u ai'u
hfnu
should DO ~ careful In his chooa'or w ee
oo,rec,ness Of detail, characteristic moudngs anu
delicate carving ~ the architect who buhus hou0o
or rostorcs a cathedral. There B' ihuoo"' ""0o
aspect Of careful and accurate stage p'ouu'' -,
should not DO lost sight Of. and this Is ts ouuo'o
value II young people form their 'oea VI
character fom an actor who Is dressed In costume
..,,,- 90 two away from the dato VI tho character
no :. no,tr,yinr q wrong impression Is formed "hon
Il will take years Of study to romoVc' uon "".'
IN make tho stage a kindergarten, but oVcry p"' '
| I'm NV opinion, q distinctly oducatiohA 'o"uoh0y ~
| either tho right or tho wrong aroc'ion d" ''s
| moraIs and sentiments. II you ask mo whoehor TN,
country s On o level with Franco OF hnsiAnu IN
m the artistic production OF plays AIN eomPenou W
ov Tim. I'm my opinion 1t Is not 1hat IL VIII SUI"
=. an howeyer 1 feel certain. We have heio many
MANAGERS and actors who want TO 90 Ine fS", s
and who As far as thoy have been aD'o n"'o wv
The trouble Is though that you have hoe ho n0A
IA Goodwin and others OF bis class " wno' m. 49,
| n,,nagers aud actors can turn for guidance in'
grea, public lib aries and museums OF Europe con,
,r,rr suoh mass Of material necessary ior his'or,c
s.arsn are also In a measure wanting. nav al
u Ia ,wnortanco OF accuracy In costume uoeIiou
~, the ground that the average audlto', or spooI
rather Knows nothing of these things ano 3 Of one
century and ma ,a .0 Odd so '"I long as a
, 'us .anpt of harmony In color Is present. ms y,
nolnt of view suro you whi asaeo ,hn nrcmises
40 ho Tho SPECTATOR may not know that sucn anu
such costume is wong but II DO - man snow wi Shy
pwheo thew ae right aud 1t Is, OF course uownru n,
nsople of education and perception thas W. r
IooP'' A., d,rected The great mass OF tneatIt-soo
sra mat az indercnt to ttio work on the par 81
tho actor as ON tho part OF the cos,u h ctar ,a
w. IL, ,noD Dou ever Thought Of tho feelings OF